People who care about records are always giving me a hard time. I mean, I would destroy records in performances, and break them, and whatever I could do to them to create a sound that was something else than just the sound that was in the groove.

Every person's remembering will be different. That engagement is important, I think.

It was part of a financial situation. I could only afford records in thrift stores. Then you could find wonderful things, but now everything is a collectible. I like the recycling idea --using the stuff that people don't want anymore, and make new music out of it. There was an element of looking back and listening to your parents' records and doing something with that stuff. Sort of acknowledging the past while rejecting it at the same time.

When you take something apart, you get a great sense of what it took to originally put it together.

I've worked with collage a lot. And there's this chance thing that happens - you don't always control things. Why did you find this today and not this? But you've got this thing, and you make it work. It's the way life is, I suppose. Whatever happens, you deal with it.

Record Without A Cover' was about allowing the medium to come through, making a record that was not a document of a performance but a record that could change with time, and would be different from one copy to the next.

You start with an idea but then so many things can happen.